It s very heartbreaking : Jonathan M Shiff warns of Children s TV cliff tvtonight.com.au - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from tvtonight.com.au Daily Mail and Mail on Sunday newspapers.
Season 2 of
The Bureau of Magical Things has its world premiere on 10 Shake this Saturday.
Produced by Jonathan M. Shiff, the 20 part Queensland-produced series screens in double episodes on weekends.
The cast features Kimie Tsukakoshi, Elizabeth Cullen, Mia Milnes, Julian Cullen, Rainbow Wedell, Jamie Carter and Christopher Sommers.
While Kyra and the Bureau continue their studies at Maxwell’s School of Magic, and deal with ongoing magical outbreaks, Kyra and Darra embark on a quest to find the Three Keys to the legendary Temple of the Purple Lotus. Following clues that lead them to the cities and jungles of Thailand, Vietnam and Cambodia, Kyra, Darra and the Bureau awaken an ancient cobra statue that delivers a cryptic vision. When the vision is deciphered and the final Key is found, Kyra’s Orb Magic brings the Purple Lotus to life and the Bureau is shocked to discover that it is an ancient weapon designed to bring an end to elves and fairies. Kyra and the Bureau must use
The Bureau of Magical Things: trailer tvtonight.com.au - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from tvtonight.com.au Daily Mail and Mail on Sunday newspapers.
Production recently wrapped on season two of
The Bureau of Magical Things in Queensland.
Prolific children’s producer Jonathan M. Shiff told WorldScreen about navigating through COVID-19 restrictions.
“We had to, first, revisit all the stories that I’d spent a year and a bit writing and falling in love with. That sort of dynamic is part of normal filmmaking,” he said. “Being a creator and being a producer sometimes is in conflict. You’ve got to find the synergy and the pathway, and I found I had to approach it the same way. We need to move this forward and do the best story we can do. We had to rewrite scenes, move interiors to exteriors to be safer, strip out cast that were not critical to the scene to be sensible about it. We had to reduce the number of extras. We had to reimagine sets. It’s very counterintuitive to everything I learned in 30 years of filmmaking. We had to take the ceiling off sets. Sets that were designed to be small and intimate had to be opened